By the turn of the century, Antwerp had become the main trading and commercial center of the Low Countries. This economic vibrancy attracted many artists and resulted in increased membership in art guilds and the establishment of a large number of painting and sculpture workshops.
The acclaim of the early Netherlandish works had created a demand for paintings from the Low Countries and the Antwerp painters exploited the city's burgeoning export infrastructure and the multitude of workshops to meet those needs.
The style of painting emerging from this period (1500 - 1530) was first called Antwerp Mannerist by the art historian Max Friedlander in 1915 and the nomenclature has stuck. These paintings were most likely mass-produced to meet market demands:
- Except in a few cases, the paintings are not associated with a specific, named artist. "The very anonymity of these artists point to their participation in mass production and formulaic repetition of figures, settings, motifs, and favorite subjects." Some of the known artists are Jan de Beer, Master of 1518, the early works of Jan Gossaert, and Adriaen Isenbrandt.
- Subject matter is tightly circumscribed with Adoration of the Magi and Nativity scenes being dominant.
- Attempts to incorporate both Flemish and Italian traditions into the composition
- Dramatic gestures and figural arrangements
- Lavish costumes
- Vivid, sometimes abrasive, coloristic effects
- Night scenes
- Scenes crowded with figures.
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The Adoration of the Magi
Netherlandish (Antwerp Mannerist) Painter
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Adoration of the Magi
Anonymous Antwerp Mannerist
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The Nativity
Jan de Beer
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King Solomon receiving the Queen of Sheba
Antwerp Mannerist
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While Antwerp has been central to this style, its presence has also been observed in France, Germany, and Southern and Northern Netherlands. It should be noted that this style is unrelated to the Mannerist style associated with the High Renaissance in Italy.
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